Duo Concertant - Danger Man by Lewis Nielson

the idiomatic writing for the double bass

Authors

  • Fausto Borém Federal University of Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2000.57832

Keywords:

Lewis Nielson, Danger Man, double bass, drumset, chamber music, american music, composition, music analysis, instrumentation, performance practice

Abstract

This study focuses on the efficiency and sofistication of the double bass idiomatic writing in Duo Concertant Danger Man by North American composer Lewis Nielson, viewed as a result of his previous experiences with this instrument in chamber music and, specially, through the process of experimentation and dialogue between him, as a composer, and the author of this article, as a performer. It also presents a brief analysis of the work's form and structural intervals. More information on the full score and recording of Danger Man can be obttained through <fborem@musica.ufmg.br> or <nielson@oberlin.net>.

Author Biography

  • Fausto Borém , Federal University of Minas Gerais

    is a Professor of Double Bass, Chamber Music, Music Research, and Performance Practices at the School of Music of UFMG. He holds a Ph.D. in Double Bass from the University of Georgia, USA, and a Master's in Double Bass from the University of Iowa, USA. He designed and implemented the Master's in Music at UFMG and the journal PER MUSI. A CNPq researcher, he has published articles in leading national journals (Opus, Cadernos de Estudo-Análise Musical e Educação Musical, Música Hoje, Polifonia, Pesquisa e Música, proceedings of ANPPOM and EINCO) and international journals (ISB, Bass World, Double Bassist, Latin America Music Review, The Music Review) in his areas of expertise. He has transcribed and edited dozens of Brazilian chamber works for double bass. He has represented Brazil at major international double bass events (Interlochen in 1993, Avignon in 1994, Indiana in 1995, Houston in 1997, Edinburgh in 1998, Iowa City in 1999). He organized the I SNPPM (National Seminar on Musical Performance Research) in 2000, the IV EINCO (International Double Bassists Meeting), the II CNCC (National Composition Contest for Double Bass) in 1996, and co-coordinated the V EINCO in 2000. As a soloist, he won 1st place at the Jan Fowler Cross Scholarship Competition (USA, 1991), 1st place in the Soloists Contest at the São Paulo Municipal Theater (1997), and 2nd place in the National String Competition (Juiz de Fora, 1987). He also received the University of Georgia Director's Award (USA, 1992), UGA Outstanding Graduate Teaching Award (USA, 1993), 3rd place at the National Music Analysis Contest (São Paulo, 1995), and 3rd place in the III National Composition Contest for Double Bass (Goiânia, 2000) with the work Didática de uma Invenção for soprano, double bass, and piano.

References

BORÉM, Fausto. A Henrique Oswald's Sonata Op.21: an edition and transcription for double bass and piano. Athens, Georgia, EUA: Univeristy of Georgia, 1993. (Tese de doutorado).

______. Contrabaixo para compositores: uma análise de pérolas e pepinos da literatura solística, de câmara e sinfônica. In: ANAIS DO VIII ENCONTRO ANUAL DA ANPPOM-ASSOCIAÇÃO NACIONAL DE PÓS- GRADUAÇÃO E PESQUISA EM MÚSICA, Articulações entre o discurso musical e o discurso sobre música. Ed. Ilza Nogueira. João Pessoa, maio, 1995, p.26-33.

______. Lucípherez de Eduardo Bértola: a colaboração compositor-performer e o desenvolvimento da escrita idiomática do contrabaixo. Opus. v.5. Rio de janeiro, agosto, 1998. p.48-75.

______. Perfect partners [: a performer-composer collaboration in Andersen Viana's Double bass Sonata]. Double Bassist. London, England. Spring 1999, n.8, p.18-21.

______. O Projeto "Pérolas" e "Pepinos" e a ampliação do repertório idiomático brasileiro para o contrabaixo: transcrições e obras resultantes da colaboração compositor-contrabaixista.In: ANAIS DO V ENCONTRO INTERNACIONAL DE CONTRABAIXISTAS. Ed. Sônia Ray. Goiânia: UFG, 2000. (no prelo)

______. 250 anos de música brasileira no contrabaixo solista: aspectos idiomáticos da transcrição musical.In:ANAIS DO XII ENCONTRO ANUAL DA ANPPOM-ASSOCIAÇÃO NACIONAL DE PÓS-GRADUAÇÃO E PESQUISA EM MÚSICA. Ed. Joel Barbosa. Salvador: UFBA, 1999. (no prelo)

NIELSON, Lewis. Danger Man. Correspondência via Internet de Lewis Nielson a Fausto Borém. From Inielson@oberlin.net to fborem@musica.ufmg.br. Quarta-feira, 30 de agosto, 2000.

______. Another question about Danger Man. Correspondência via Internet de Lewis Nielson a Fausto Borém. From Inielson@rameau.music.uga.edu to fborem@musica.ufmg.br. Quinta-feira, 17 de janeiro, 2000.

______. Duo Concertant: Danger Man. Athens, Georgia, EUA: Ed. do autor, 2000 (partitura e partes de contrabaixc e bateria).

______. Formal Persuasion. New York: Seesaw Music, 1975.

______. Interference. Athens, Georgia, EUA: Ed. do autor, 1985.

______. Lewis Nielson. Homepage: www.arches.uga/Inielson. 30 de agosto, 2000.

______. Danger Man. Correspondência de Lewis Nielson a Fausto Borém. From Inielson@oberlin.net to fborem@dedalus.lcc.ufmg.br. Domingo, 15 de outubro, 2000.

______. Me again.Correspondência via Internet de Lewis Nielson a Fausto Borém. From Inielson@rameau.music.uga.edu to fborem@musica.ufmg.br. Quarta-feira, 29 de dezembro, 1999.

______. New music in ANPPOM. Correspondência via Internet de Lewis Nielson a Fausto Borém. From Inielson@oberlin.net to fborem@musica.ufmg.br. Segunda-feira, 4 de setembro, 2000.

______. Technical, interpretative, and aesthetic issues in the performance practice of contemporary music. In: ANAIS DO I SNPPM - SEMINÁRIO NACIONAL DE PESQUISA EM PERFORMANCE MUSICAL. Ed. Fausto Borém e André Cavazotti. Belo Horizonte, 2000.

RAY, Sonia. Catálogo de obras brasileiras eruditas para contrabaixo.

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Published

2000-01-07

Issue

No. 02 (2000): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2000 Per Musi

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How to Cite

“Duo Concertant - Danger Man by Lewis Nielson: The Idiomatic Writing for the Double Bass”. 2000. Per Musi, no. 02 (January): 89-103. https://doi.org/10.35699/2317-6377.2000.57832.